This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
I knew who the murderer was twenty minutes into this film, but that didn't make it any less enjoyable.
Why do I relate to the murderer. Why
A beautiful young advertising executive with a full complement of suitors is brutally murdered. A laconic detective investigates which of her high society friends and admirers is the killer.
Woefully outdated murder mystery, but I imagine it was entrancing in its time. The detective casually asks innocent-seeming questions only to later skewer his dishonest suspects with their own answers. Peter Falk could have learned a thing or two from Dana Andrews.
A voiceover extolling the virtues of the eponymous dead woman is exactly what one might expect to begin a film noir, but that opening note rings long enough to begin sounding discordant. It quickly becomes apparent that detective Mark McPherson (Dana Andrews), not columnist and first narrator Waldo Lydecker (Clifton Webb), is the protagonist, explicating more than usual the unreliable qualities of noir narration amidst another literal search for truth.
Laura's return throws the narrative into disarray, scattering the clues that were beginning to line-up so clearly, as if this femme fatale prefers to craft her own story rather than become a device in someone else's narrative. Some of the procedural/potboiler elements of this are a tad stale, and I…
Gotta love a good film noir. This one is top notch! Right up there with Sunset Blvd. and Double Indemnity!
Acid tinged and constantly shifting on its axis. Who's the kinkiest of them all? Leads are underrated but supporting cast dominates.
A fine noir that hits all the noir beats, well-acted across the board (though it took some time to warm to Dana Andrews), predictable but still engaging and at times suspenseful. I can see this growing on a rewatch.
I can't believe they didn't play that Scissor Sisters song at any point, really missed a trick there, Otto.
Sick smash pans though.
Great writing and fantastic performances by Andrews, Webb, and Price are the highlights of Laura. It's got a more realistic take on hard boiled dialogue than many similar films and lets the nastiness subtly emerge from its characters. The mystery itself is a good one, although you can pretty much guess what's going on fairly early in the film (Except for one hell of a curve ball! It even happens just after Andrews has fallen asleep to make you think it's a dream sequence). It's great to see Andrews work, and his character is a tactile, fast thinking bastard. What ends up being its central love story is not quite my cup of tea but it is necessary because it allows Laura to become a wonerfully dark, tainted portrait of jealousy, obsession, and possession.
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…